Sentences with phrase «early twentieth century new»

A bold, mesmerizing novel about the woman known as «Typhoid Mary,» the first known healthy carrier of typhoid fever in the burgeoning metropolis of early twentieth century New York.

Moving from the tempered calm of contemporary Madison, Wisconsin to the seedy underbelly of early twentieth century New York, we come face to face with a haunting piece of America's past: From 1854 to 1929 orphan trains from New York transported 150,000 to 200,000 destitute, orphaned or abandoned children across the country to find homes on farms in the Midwest.

Not exact matches

Boreham was born in England and spent his entire adult life as a pastor in New Zealand, Tasmania and Australia in the early to mid twentieth century.

Rhetorical criticism of the Bible is nothing new; it can be traced back at least as early as Augustine, but the twentieth century practice of rhetorical criticism finds its origins in James Muilenburg's work with Hebrew poetry and Amos Wilder's lectures on early Christian rhetoric.

Having in mind the shameful jurisprudence inaugurated by the Court in Dred Scott in the mid-nineteenth century, Lochner v. New York in the early twentieth, and Roe v. Wade and numerous other partisan decisions in our own time, one might say: «I'm sorry, but that is, to say the least, not persuasive.»

My family had been in Brooklyn (or, as I will ever call it, God's country) for over a century, refugees from the Lower East Side and a Jacob Riis — style life in early - twentieth - century New York.

I said that I consider the failure of scientists, theologians, and philosophers to pursue the quest for a new metaphysics in the early twentieth century to be a great tragedy.

There were intense discussions in the early part of the twentieth century about this new situation.

Crawford situates Wahhabism in the second part of the twentieth century within what he terms the formation of «hybrid» radical groups — Al - Qa «ida and ISIS, but also earlier groups such as the Awakening movement that took shape in the early 1990's that «infused [Wahhabism] with new ideas» and «drew the line between belief and unbelief at new points on the religio - political spectrum.»

The essays gathered in The Twilight of the Intellectuals, most of which were first published in the New Criterion, constitute a mordant retrospective on what Julien Benda early in the twentieth century called la trahison des clercs — the treason committed by modern intellectuals (who were mostly middle - class writers, scholars, and artists) against the principles and institutions that had nurtured them.

Together with other developments in the «new science» it caused a series of reactions among Protestants which by the early twentieth century had resulted in a sharp cleavage between liberalism and fundamentalism.

In the latter part of the nineteenth century and in the early part of the twentieth century, rural Iberia Parish was home to the McIlhenny Company; B.F. Trappey & Sons (a former McIlhenny employee) who began manufacturing Louisiana Hot Sauce, Red Devil Cayenne Pepper Sauce and Bull Louisiana Hot Sauce in 1898; and Franks Original RedHot Cayenne Pepper Sauce where pepper farmer Adam Estilette partnered with Jacob Frank in New Iberia in 1920.

Americans in the early twentieth century were still becoming acquainted with mass advertising, which was designed to create new needs where none had existed before, such as for mouthwash or deodorant, or to promote products, such as baby food, that responded to and enabled a more fast - paced life brought on by technological innovation.67 With the mass production and advertising of goods, memorable packaging and branding became an essential part of the product, «an integral part of the commodity itself,» as one business executive noted in 1913.68

Moreover, this debate is not new, with the nascent labour and socialist movements of the late nineteenth and early twentieth centuries contesting both the legacy and the contemporary relevance of this historic charter.

NEW YORK (AP)-- Twentieth Century Fox has pulled early promotional materials for its comedy «Neighborhood Watch» in light of the Trayvon Martin shooting.

Back in February, the revered British filmmaker premiered his new Emily Dickinson biopic, A Quiet Passion, at the Berlin Film Festival, and in May, his 2015 film Sunset Song — a portrait of an early twentieth - century Scottish woman named Chris — came to the U.S. (While in New York for Sunset Song, Davies graciously stopped by to regale us with tales of his pasnew Emily Dickinson biopic, A Quiet Passion, at the Berlin Film Festival, and in May, his 2015 film Sunset Song — a portrait of an early twentieth - century Scottish woman named Chris — came to the U.S. (While in New York for Sunset Song, Davies graciously stopped by to regale us with tales of his pasNew York for Sunset Song, Davies graciously stopped by to regale us with tales of his past.)

Imagery so lush and intense, matched with the most beautiful Morricone score, make this Malick film — found and made in the editing room — a breathtaking ninety - four - minute montage of early twentieth - century rural life that remains unsurpassed as an example of a searching New Hollywood mastery.

Meryl Streep plays the title character, a singing society heiress in early - twentieth - century New York who became famous for the wrong reasons — her voice was dreadful.

Once it was up and running in Europe, the need to continually expand the economy and find new markets led to the formation of Eastern colonies in India, the Middle East and Africa during the late nineteenth and early twentieth centuries.

Inspired by newspaper stories from the last four centuries, Donoghue's masterful short story collection explores the unexpected in people's lives in such varied settings as Victorian England, Civil War — era Texas, and early twentieth - century New York City.

Julia Franck's unforgettable English language debut throws new light on life in early - twentieth - century Germany, revealing the breathtaking scope of its citizens» denial — the «blindness of the heart» that survival often demanded.

In a story commonly found on our historical fiction shelves, two lonely immigrants to America meet in the vividly described and detailed setting of early - twentieth - century New York and find they are unlikely soul mates.

The self - publishing of various vanity presses in the twentieth century, and earlier, bears almost no comparison to the product being marketed by so many savvy and dedicated self - publishing authors in this new time.

French artist Caroline Achaintre's visually striking, witty ceramic sculptures and hand - tufted wall hangings bring together a whole host of references such as catwalk fashion, carnival, and death - metal iconography, as well as Primitivism and Expressionism — early twentieth - century Western art movements that borrowed heavily from non-Western and prehistoric imagery to find new ways of representing the modern world.

Divided into seven chronological chapters, from early twentieth century avant - garde movements such as the Harlem Renaissance to current debates around «Post-Black» art, this exhibition opens up an alternative transatlantic reading of Modernism and its impact on contemporary culture for a new generation.

Adventures of the Black Square, Abstract Art and Society 1915 — 2015 at Whitechapel Gallery until 6 April clearly and alternatively positions the work's reductive form (in this exhibition it is Malevich's diminutive undated Black Quadrilateral that is featured) as the beginning of a new art starting in Russia and Northern Europe in the early twentieth century.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century - of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life - continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

In 2007, Tod Williams Billie Tsien Architects received the commission to design the new Barnes Foundation building, an enviable project that was surrounded both by controversy and the excitement of increasing access to one of America's premier collections of post-impressionist art, amassed by Dr. Albert C. Barnes in the early twentieth century.

Unlike the «Big Beamers,» these volumes are stretched along a single axis to echo the forms of classic New York high - rises of the early twentieth century.

Although this artistic technique, in which materials are cut, torn, and layered to create new meanings and narratives, gained acclaim in the early twentieth century through the groundbreaking work of such artists as Pablo Picasso, Georges Braque, Kurt Schwitters, and Jean Arp, it experienced a renaissance (particularly in America) after World War II.

Alternative Figures in American Art, 1960 to the Present, Curated by Dan Nadel, Matthew Marks, New York, NY 1995 Pacific Dreams: Currents of Surrealism and Fantasy in Early California Art 1934 - 1957, Oakland Museum, UCLA Hammer Museum of Art and Nora Eccles Harrison Museum of Art, UT 1993 Selections from the Permanent Collection - California: Art from the 1930s to the Present, San Francisco Museum of Modern Art 1989 Forty Years of California Assemblage San Jose Museum of Art, Fresno Art Museum and Joslyn Art Museum 1986 California Sculpture: 1959 - 1980, San Francisco Museum of Modern Art 1985 Art in the San Francisco Bay Area 1945 - 1980, Oakland Museum 1984 Contemporary American Wood Sculpture, Crocker Art Museum, University of Arizona Museum of Art, Huntsville Museum of Art and Chrysler Museum The Dilexi Years 1958 - 1970, Oakland Museum 1982 100 Years of California Sculpture, Oakland Museum Northern California Art of the Sixties, De Saisset Museum, University of Santa Clara 1976 California Painting and Sculpture: The Modern Era, San Francisco Museum of Modern Art and National Collection of fine Arts, Smithsonian Institution 1975 Masterworks in Wood: The Twentieth Century, Portland Art Museum First Artists» Soap Box Derby, San Francisco Museum of Modern Art 1971 Continuing Surrealism, La Jolla Museum of Art 1969 An American Report on the Sixties, Denver Art Museum American Sculpture of the Sixties, Grand Rapids Art Museum 1968 On Looking Back: Bay Area 1945 - 62, San Francisco Museum of Art The West Coast Now: Current Work from the Western Seaboard, Portland Art Museum, Seattle Art Museum and De Young Museum 1967 FUNK, University Art Museum, Berkeley, and Institute of Contemporary Art, Boston American Sculpture of the Sixties, Los Angeles County Museum of Art and Philadelphia Museum of Art 1966 Twenty Drawings: New Acquisitions, Museum of Modern Art, New York Two - Dimensional Sculpture, Three - Dimensional Painting, Richmond Art Center, CA 1964 Annual Exhibition of Contemporary American Sculpture, Whitney Museum of American Art 1962 Fifty California Artists, Whitney Museum of American Art, Walker Art Center, Albright Knox Art Gallery and Des Moines Art Center Public Collections

Our modern notion of collaging, or papier - collé (French for glued or stuck paper), was ignited in the early twentieth century by artists such as Pablo Picasso (1881 — 1973) and Georges Braque (1882 — 1963), who incorporated various text, photographs, found objects, and paper into works of art, resulting in an entirely new medium.

‡ This placement on the threshold of early and late twentieth century modernism served Stankiewicz well, as he continued to exhibit and develop his sculpture throughout the 1960s and 1970s, establishing relationships with New York galleries even after he left the city in 1962 for rural Massachusetts.

The addition of motion and sound brought new dimensions to the abstract art pioneered by Wassily Kandinsky and other avant - garde painters of the early twentieth century.

On display are new truncated assemblages composed of bronze, polished concrete, mirror acrylic and more, each suggesting the bold futurism sought by the Modernist architects» design of early and mid twentieth - century urban centers.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century — of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life — continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

Neue Galerie New York is a museum devoted to early twentieth - century German and Austrian art and design, displayed on two exhibition floors.

New York, Solomon R. Guggenheim Museum; Baden - Baden, Staatliche Kunsthalle; and Bremen, Kunsthalle Bremen, Twentieth - Century American Drawing: Three Avant - Garde Generations, January - August 1976; Baltimore, The Baltimore Museum of Art; Detroit, The Detroit Institute of Arts; Chicago, Museum of Contemporary Art; New York, The Metropolitan Museum of Art; Amsterdam, Stedelijk Museum; Paris, Musee National d'Art Moderne, Centre Georges Pompidou; Cologne, Museum Ludwig; and Basel, Kunstmuseum Basel, Barnett Newman: The Complete Drawings, 1944 - 1969, April 1979 - July 1981, pp. 70 - 71, no. 19, illustrated in color and black and white (in different orientations)(Baltimore); n.p., no. 19, illustrated in color (Amsterdam); p. 13, no. 19, illustrated (Paris); p. 13, no. 19, illustrated in color (Cologne); p. 13, no. 19, illustrated in color (Basel) Providence, Rhode Island, Bell Gallery, Brown University; Worcester, Massachusetts, Cantor Art Gallery, College of the Holy Cross; and Southampton, New York, Parrish Art Museum, Flying Tigers: Painting and Sculpture in New York 1939 - 1946, April - July 1985, p. 78, no. 37, illustrated; Minneapolis, Walker Art Center; Saint Louis, The Saint Louis Art Museum; and New York, The Pace Gallery, The Sublime is Now: The Early Work of Barnett Newman, Paintings and Drawings 1944 - 1949, March - November 1994, p. 49, no. 17, illustrated in color and p. 20 (text)

In late May, the architect Daniel Libeskind spoke at the New York Gallery Luxembourg & Dayan where he collaborated with Daniella Luxembourg to curate an exhibition of thirteen small sculptural works by some of the giants of early twentieth century sculpture: Alberto Giacometti, Julio González Henri Laurens, Jacques Lipchitz, Henri Matisse, Jean Tinguely, and the less well - known German artist Rudolf Belling.

Following a period of research, while in residence at Jesus College Cambridge in 2016, Bas developed new subject matter including the famed Night Climbers of Cambridge, a group of students whose nocturnal ascents of the ancient buildings of the university and town, taking photographs while trying to avoid detection, gained them a cult following during the early decades of the twentieth century.

The so - called Ashcan School consisted of a progressive group of early twentieth - century American painters and illustrators (sometimes called the New York Realists) who portrayed the urban reality of New York City life, in a gritty spontaneous unpolished style.

The Tantric Way highlights the parallels between Tantric art and the early twentieth - century modernist abstractions of Paul Klee, Piet Mondrian, Constantin Brancusi and Robert Delaunay, as well as the affinities between the post-war American painters Ad Reinhardt, Mark Rothko and Barnett Newman and the work of Indian artist Biren De.22 The latter was one of the leading members of a group of «neo-Tantric» artists newly promoted by New Delhi gallerist Virendra Kumar Jain, the older brother of Tantra Art's publisher, Ravi Kumar.23

The latter three belonged to the rebellious group of early twentieth - century artists in New York known as «The Eight,» who opposed the more conservative, academic tastes of the National Academy of Design.

Sullivan Goss â $ «An American Gallery is pleased to present a new exhibition of early twentieth century paintings on paper and canvas from the Estate of the Artist.

Volcanic Magic XXVlll, one of our new acquisitions, feels like a work from the Soviet Constructivist movement of the early twentieth century.

From the urban landscape, there is a run of early twentieth century prints depicting the ever - changing New York City, featuring several of Martin Lewis's best - known prints, including Relics (Speakeasy Corner), drypoint, 1928 ($ 30,000 to $ 50,000).

unlike the «big beamers,» the volumes are stretched along a single axis to echo the forms of new york high - rises from the early twentieth century.

Reviewing the beloved early twentieth - century Italian painter Giorgio Morandi's hugely popular 2008 retrospective exhibition, The New York Times» Holland Cotter wrote, «Aspirants to the role of painter - as - poet are many.

As a radical re-evaluation of art history from the early twentieth century to the late 1960s, this brilliant new account of American modernism is a must - read for students and scholars of art as well as all those interested in modernism and its wider cultural history.

Charles Gaines's new original master composition for the Art Biennale is derived from his most recent body of work, Notes on Social Justice, a series of large - scale drawings of musical scores from songs, some borrowed from as early as the American Civil War (1860 — 1865) and others dating from the mid twentieth century.